Interludes

THE HANGOVER REPORT – NYGASP brings back its smartly re-framed production of Gilbert & Sullivan’s THE MIKADO

• By drediman
• January 9, 2024
• No Comments

This past weekend at the Kaye Playhouse at Hunter College, I attended a performance of The Mikado courtesy of the New York Gilbert & Sullivan Players — or “NYGASP”, for short. First performed in 1885, the operetta — featuring music by Arthur Sullivan and libretto by W.S. Gilbert — is arguably one of the duo’s most popular and enduring efforts. Although it’s frivolously set in the fictitious Japanese town of Titipu, the comic opera’s ultimate aim is to critique and satirize British politics of the day.

In its carefree depiction East Asian culture, the piece can be viewed as being culturally insensitive. NYGASP’s 2017 production of The Mikado — directed by David Auxier — largely gets around this dilemma by ingeniously framing the operetta as a hallucination experienced by Gilbert following the premiere of Princess Ida (the work that preceded The Mikado). As such, the staging goes a long way in distancing itself from the opera’s literal setting — which is further emphasized by Quinto Ott witty costume design — focusing instead on the work’s satiric intentions, as well as the act of artistic creation.

As led by associate conductor Joseph Rubin in the pit, the playing was spirited throughout. As for the performances, they ranged from merely serviceable to inspired. Particular standouts included David Macaluso as Ko-Ko and Matthew Wages as Pooh-Bah — both gave vocally buoyant, comedically expert performances that propelled the staging. Other noteworthy performances came from mezzo-soprano Hannah Holmes, in healthy voice as the fiery Katisha, as well as the imposing David Wannen in the title role.

RECOMMENDED

THE MIKADO
Opera
New York Gilbert & Sullivan Players at the Kaye Playhouse
3 hours (with one intermission)
Through January 14